A Pandoras Box to empower the filmmaker


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The setting was Celebro Studios London, home to their fully 4k television studios, where journalists and industry commentators gathered late last November to witness the launch of the revolutionary Rotolight Anova PRO 2. This was no ordinary unveiling though, the launch was streamed live on Facebook and YouTube and hosted by award winning news anchor man Martin Stanford with Wesley Dodd, CEO of Celebro Media Group and Rotolight MD Rod Gammons in the studio.

Kicking off the show Rod was asked what features he was most excited about in this new lighting fixture?

“This is one of the brightest, if not the brightest, light in its class whilst having industry leading battery performance consuming just 72 watts, half of that of any of its competitors in the market, meaning lower running costs and less battery consumption when on location. It has outstanding colour rendering for great skin tones but it is also packed full of features not only for live broadcast but also for filmmakers and photographers”.

LED lighting has been in place since Celebro was set up three years ago but why was the Rotolight brand used? “Currently the studios are using the little brother of this new fixture, the Anova Pro, and when we started we were building a daylight studio where we could control the daylight coming in whilst still having as live television news environment”, comments Wesley. “We understood we needed a bi-colour light and wanted LED to keep energy consumption low, at that stage Rotolight was really the only option for us and we’re glad we choose it. Three years on we have studios full of Rotolight and are proud to be upgrading to the new Anova Pro 2”.

The brightness of the latest generation LED from Rotolight is key demonstrated live with the Anova Pro and Pro 2 set up side by side. With a Sekonic light meter to hand Martin measures the ‘old Pro’ at 6,000 lux. Repeating the test with the ‘new Pro’ gives a reading of 13,000 lux, surpassing the current spec sheet!

When questioned how this has been achieved Rod explains “We are using the absolute latest in LED technology and have increased the number of LEDs from 720 to 960 which have outstanding colour and that brightness performance you’ve just seen”.

The Anova Pro has standard 5 pin DMX512 control, Wes points out “this is great, everyone uses it but the problem is you can end up with a mass of cables in the ceiling and the potential that if one light in the chain fails then others could be affected as well”. As one of the first users of this light Celebro were able to suggest a few ‘upgrades’, one of which was the control via an RJ45 Ethernet cable. The advantages of this is that every light can be connected independently to a switch via an existing Ethernet socket fitting in to an existing IP workflow perfectly.

Rotolight are justifiably proud of the colour abilities of the Anova Pro 2 with a temperature range of 3150 to 6300 Kelvin giving the most flexible of lighting solutions whether in a studio or on location. Colour accuracy is to CRI 96 and TLCI 91 (Television Lighting Consistency Index), the highest it can possibly score, which in real world terms means it requires no correction for a live broadcast environment. A big tick in the box for Celebro!

Martin explained that another arm of the Celebro Media Group is Celebro Live and at this point the show cut to Celebro’s Head of Production Andrew Lebentz on the roof top terrace (it could be anywhere on the planet of course) to demonstrate the outdoor abilities of the Anova Pro 2. Joining Andrew on the roof was Rotolight’s Zoe Gardiner who explains the advantages of going out on the road with this new light, “firstly it is the form factor weighing less than 3.5kg making it incredibly portable and you’ve also got the adjustable colour temperature with the built-in kelvin display on the rear to easily match the light to the ambient conditions you are in. As Rod mentioned earlier power consumption is only 72 watts meaning that with a V-lock battery you’ll have long run times without the need for an onsite generator”.

Celebro Live offers the ability for 2, 3 or even more cameras to be placed on location and then remotely switched and controlled (exposure etc) via IP from the studio, anywhere in the world. This solution not only massively reduces costs in staffing and gives full control to the director at base but encourages the creative use of multiple cameras, where only a single one may have been previously used, due to the ease of control and lower costs.

There is nothing better than speaking directly to a user and DoP Jonathan Jones who has many credits to his name, such as winning an Emmy and working on Planet Earth 2, joined the studio to discuss the Anova Pro 2. “As well as a fantastic LED fixture it has the built in SFX elements giving us a toolkit to unlock a Pandora’s box that empowers the filmmaker. Effects such as Fire, Lightning, TV, Gunshot, Paparazzi and many more are within the SFX menu of the Anova Pro 2 giving you complete realism, control and saving time and costs on set”.

Jonathan continues “What is important to note is that the effects are randomised so they do not repeat and feel real. Furthermore the effects can be remotely triggered with control of the whole light from up to 200 metres away giving complete freedom to react to changing situations without rerigging. Via DMX control Anova Pro 2’s can be slaved and all matched instantaneously using the remote control”.

As an international news group it is easy to see why Rotolight meets the requirements of Celebro, Wesley comments “We’ve ordered 200 Anova Pro 2’s which will be the backbone of our operations in Washington, LA, Moscow and a few other places coming soon.


Tags: iss129 | rotolight | celebro | anova pro 2 | led | lighting | wesley dodd | rod gammons | KitPlus
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Speed in a Changing Media Landscape
Mike Nash We are living in the video era - the staggering statistics on video growth make that abundantly clear. According to Cisco’s Visual Networking Index: Forecast and Methodology 2016–2021, video will make up 82 percent of all consumer internet traffic by 2021, an increase from 73 percent in 2016. To put this in perspective, “it would take an individual more than five million years to watch the amount of video that will be crossing global IP networks each month in 2021.”
Tags: iss129 | hulu | amazon | netflix | signiant | svod | Mike Nash
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AoIP in the intercom world
John Sparrow Everyones talking about using AoIP (Audio over IP) in the broadcast world, but what does it mean to the operators actually making the production - the intercom users? And after years of interoperability taking the lowest common format of analogue tie-lines (also known as 4-wires), has intercom today already moved into the digital world by sharing digital audio resources with other types of hardware?
Tags: iss128 | clearcom | clear-com | dante | aes67 | beltpack | isdn | John Sparrow
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There is no where to hide from cybercrime
Mark Harrison The media sector is an attractive target for cyber attacks of all kinds from malicious individuals who enjoy disrupting high profile shows, to organised criminals who are attracted by the value of content, to nation states aware that media is a way of conveying or distorting messages.
Tags: iss128 | dpp | cybercrime | microsoft | azure | tinopolis | security | Mark Harrison
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Supporting broadcast quality control
Alan Wheable With the ever-increasing number of program channels and range of different program distribution formats, the process of ensuring program quality has become a complex one for contribution/capture, production, post production, server ingest and content distribution.
Tags: iss128 | omnitek | wcg | hdr | test and measurement | smpte 2110 | smpte 2022-6 | Alan Wheable
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The Transition to a full end to end IP video solution
Brian Olson Most video professionals will agree that the future is IP. The question is, when and how do they make this transition? With manufacturers just introducing new IP products, many people are observing and waiting. However, the reality is that the move to IP is already rapidly taking place and is more transformational than the move from analogue to digital, SD to HD, or HD to UHD/HDR. IP will change the way that people interact with video, making it more flexible, more accessible, more scalable and will provide more opportunities for content delivery
Tags: iss128 | newtek | ptz | ip | uhd | streamstar | xsplit | vmix | ndi | Brian Olson
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The dangers of live streaming without a license
Joseph Adamson The entertainment industry is visual and sound driven. Without these two elements there would be no such a thing as entertainment. Its obvious that there are people who create sound/s and visuals. Copyright laws were created to protect the industry and these artists. Many organisations have been created to look after musician, writers, poets and filmmakers. For example there are a number of bodies especially the MCPS [Mechanical-Copyright Protection Society], which is responsible for collecting royalties and licensing of music on behalf of musicians and music producers.
Tags: iss128 | ail | youtube | streaming | license | Joseph Adamson
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Marjan Television Network - a case study
Ian Muir Internet and Satellite content distribution now allows production companies and broadcasters to send targeted TV programmes and video to widely dispersed audiences all over world, whilst located where theres easy access to the technology, equipment and expertise to produce top quality programmes.
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Leveraging licensed broadcast spectrum assets
John Payne There are several different approaches to transmitting live and file-based content from the field to the studio. Traditional microwave Electronic News Gathering (ENG) provides high bandwidth, high-quality transmission with low latency. Using the secure, dedicated BAS spectrum keeps control in a broadcasters hands. The past few years have seen a shift in video technology toward acceptance, and adoption of IP-based links into ENG workflows.
Tags: iss128 | eng | bas | imt | vislink | imt-vislink | John Payne
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State of the Nation - Telling Imaginary Stories
Dick Hobbs - new In mid-October, Nokia issued a press release from its headquarters in Finland, announcing a refocusing of its business, with a growing emphasis on digital health. Read on a few paragraphs, though, and you find this statement....
Tags: iss128 | samsung | ozo | vr | nokia | ibc | david attenborough | Dick Hobbs - new
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IP Prompting
Jon Hilton# The potential nirvana of interoperable IT, Telecommunications and Broadcast convergent technology definitely felt a lot closer at this years IBC with the launch of many, many broadcast IP ready devices, workflow and solutions. While the big ticket camera and live production infrastructures dominated the headlines there were a number of smaller but equally important IP workflows that were launched which are fundamental to successful, professional TV production and this includes the often forgotten world of TV Prompting
Tags: iss128 | portaprompt | ip | prompting | ippg | windigi | Jon Hilton#
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IP or not IP, that is the question
Brian Larter There can be a one size fits all approach to prompting, but with the many forms of production in todays broadcasting world - from a major sporting event, to the biggest Saturday night entertainment show, to a 24-hour news operation or prompting on location - it is unlikely that a single system will suit every circumstance. The equipment needs to be designed for purpose, interchangeable and adaptable, since prompting, like other areas of the broadcast workflow, does not stand still.
Tags: iss128 | cuescript | prompting | prompter | ptz | ip | Brian Larter
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When a lens is more than just a lens
KitPlus Matching shots between different cameras can be tricky at the best of times. But how do you match lens characteristics between a live action shoot and a CGI composition? The CP.3 XD lenses from Zeiss offer an efficient solution to this with their frame accurate meta-data.
Tags: iss128 | zeiss | lenses | lens | prime | cp.3 | cgi | vfx | KitPlus
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Reunion on Kingsman ensures efficient workflow for sequel
KitPlus Both on and off camera, there are some collaborations that are built to last. Armed with the success of their work on the first film adaptation of the Kingsman comic book (Kingsman: The Secret Service), director Matthew Vaughan reunited with cinematographer George Richmond, DIT Joshua Callis-Smith and colorist Rob Pizzey, to deliver Kingsman: The Golden Circle, the upcoming second installment in the spy comedy series.
Tags: iss128 | kingsman | blackmagic | goldcrest | davinci | arri | dit | KitPlus
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Managing Talent
Nicole Inanc Presenting for television is a talent that is critically competitive. Budding presenters around the world produce showreels, attend acting schools and fight to be the next Ant and Dec¦ but what is it exactly that makes a successful television presenter? As a wannabe TV presenter myself, I wanted to explore the exact process talent managers follow when finding the next big thing and whether I have exactly what it takes.
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How the Cloud can be enabled as traditional broadcast workflows evolve
David Schleifer The Cloud itself is fairly simple, but for broadcasters it can be difficult to leverage. It isnt technically complex but broadcast still overlaps requirements that need real time, high resolution and quick turnaround solutions. Plus, this is coupled with the need to connect with dispersed geographic locations, reduce costs and access multi-format assets. As a result, broadcasters have moved away from asking the basic question what can I do in the cloud? to trialling projects and implementations are now underway or under evaluation.
Tags: iss128 | ott | primestream | David Schleifer
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